Martin F-2 Conversion

[murrmac123]

I love the new fretboard ...the true vintage look .... feel free to send the old one to Scotland if you find it's taking up too much space.

I had the privilege of hearing David Bromberg play his Martin conversion up close and personal back in 1975 ... amazing player and an amazing guitar.

[billgennaro]

Coming along quite nicely Howard. When you replace the top, do you plan on using some aged Adirondack and, if so, how old will it be?

[Howard Klepper]

Originally Posted by billgennaro

Coming along quite nicely Howard. When you replace the top, do you plan on using some aged Adirondack and, if so, how old will it be?

Bill, I choose tops first on what I think is their tonal potential, next on cosmetics. Other things being equal, I will usually give preference to one that I have had for some years, because seasoning tends to stabilize wood (I bake most tops for stabilization, as well). But how it rings when I tap it trumps other considerations.

People are naturally drawn to metrics that can be quantified without the need for judgment--where it grew, how many lines per inch, how old a tree, when it was sawn, etc. At best these are stand-ins for what actually matters. At worst, they are irrelevant.

This guitar will get a top with fine cosmetics, and that taps as well as any I have. I have not yet decided which one that is.

[billgennaro]

Originally Posted by Howard Klepper

Bill, I choose tops first on what I think is their tonal potential, next on cosmetics. Other things being equal, I will usually give preference to one that I have had for some years, because seasoning tends to stabilize wood (I bake most tops for stabilization, as well). But how it rings when I tap it trumps other considerations.

People are naturally drawn to metrics that can be quantified without the need for judgment--where it grew, how many lines per inch, how old a tree, when it was sawn, etc. At best these are stand-ins for what actually matters. At worst, they are irrelevant.

This guitar will get a top with fine cosmetics, and that taps as well as any I have. I have not yet decided which one that is.

Glad to hear it. If I were interested in this particular guitar that's the way I would hope you would choose to do it. I was just asking to see if perhaps it was expected, on such a conversion, to go with 50 year old wood or something like that.

Thanks for the response!

[Howard Klepper]

Fretboard on, neck to headstock and fretboard transitions reshaped.

[clinchriver]

Howard very nice project. Having carved a few necks myself your carving is outstanding/perfect.

[Howard Klepper]

Top is joined and rosette inlayed. I will be going with Style 42 on this top. The red spruce is perfectly quartersawn.

[mesa]

Howard these threads are very enjoyable to follow. Your builds are amazing to behold as is your hand at repair and restoring. Your a gifted man!

[MBE]

Wonderful work so far. Glad to see an under-loved guitar like this given new life by a talented luthier.

A question for you, Howard - when doing these conversions, do you voice the top as you would on your own builds, or do you try to voice it like a vintage Martin? If so, which era of Martin voicing do you aim for?

[OddManOut]

Originally Posted by Howard Klepper

I decided to replace the fretboard on the F-2. The F series guitars were made with the nominal 24.9" scale, and I think they sound better long scale. So I'm making a 25.4" board, and giving it Style 42 inlays. I'm also binding the headstock, because I like the look.

The F-2's also have a 1-11/16" nut, with a 2-1/8" 12th fret width. Putting on a new fretboard gives me the chance to widen it a bit. I should be able to get it close to 1-3/4" and 2-3/16," and make the bridge spacing 2-1/4". The wider board and longer scale involve some reshaping of the neck and headstock. I think it is worth the effort.

Neck with old fretboard:

No desire to change the truss rod? Perhaps doing so would entail a large amount of work (looks like a big space to fill) or would create an undue risk of damaging the neck. Just curious.

Looks great so far!

[Howard Klepper]

Originally Posted by MBE

Wonderful work so far. Glad to see an under-loved guitar like this given new life by a talented luthier.

A question for you, Howard - when doing these conversions, do you voice the top as you would on your own builds, or do you try to voice it like a vintage Martin? If so, which era of Martin voicing do you aim for?

I aim for pre-war kind of sound. But a converted archtop will always have its own variation on that, because of the high arch in the back. They get more midrange and projection, and a little less thump in the bass. If you like it, you might call it vintage without the scoop in the middle. This is about the same sound that I am aiming for recently with my own guitars.

[Sperry]

Headstock reshaped a bit, and bound:

Boy, that sure is nice looking wood! Great project!

[Howard Klepper]

Originally Posted by OddManOut

No desire to change the truss rod? Perhaps doing so would entail a large amount of work (looks like a big space to fill) or would create an undue risk of damaging the neck. Just curious.

Looks great so far!

Lovers of vintage Martins prize the heavy T-bar neck reinforcement. They work great, and changing it would only devalue the guitar.

[cpabolting]

Originally Posted by Howard Klepper

Lovers of vintage Martins prize the heavy T-bar neck reinforcement. They work great, and changing it would only devalue the guitar.

The project looks great and I think what you are doing is really a great way to take an instrument with a relatively low demand and make it into something that will have more utility.

Valuation? I don't think the instrument will have value as a "vintage" since it is really no longer the same.....but the value as an end product I doubt would change regardless of the neck reinforcement. That said, there may be some component of desirability that may exist because of the type of neck...just don't really see that resulting in a price at the pump.

Interesting.... I have a 1959 D-28E that is vintage cool.... and doesn't sound like much as an acoustic guitar because of the bracing used to accommodate the pickups....but this one sounds cool plugged in...kinda jangly and vintage sounding..... However, I see many people have the top changed out because the Brazilian it often has is great... and it makes a nice acoustic guitar, but it kills any historical value.

[Howard Klepper]

Originally Posted by cpabolting

The project looks great and I think what you are doing is really a great way to take an instrument with a relatively low demand and make it into something that will have more utility.

Valuation? I don't think the instrument will have value as a "vintage" since it is really no longer the same.....but the value as an end product I doubt would change regardless of the neck reinforcement. That said, there may be some component of desirability that may exist because of the type of neck...just don't really see that resulting in a price at the pump.

Keith, my comment is based upon experience selling guitars in this market; not on speculation. Most buyers for these conversions are lovers of vintage Martins, who are looking for a great player guitar (for a fraction of the price of a comparable prewar BRW Martin). A major portion of their desirability comes from being in significant part vintage Martins.

Originally Posted by cpabolting

Interesting.... I have a 1959 D-28E that is vintage cool.... and doesn't sound like much as an acoustic guitar because of the bracing used to accommodate the pickups....but this one sounds cool plugged in...kinda jangly and vintage sounding..... However, I see many people have the top changed out because the Brazilian it often has is great... and it makes a nice acoustic guitar, but it kills any historical value.

What historical value? Mistakes garner some interest as curiosities, I guess. But I don't think there are many collectors or museums jonesing for a D-28E. They can be made into great pre-war style dreads.